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Detroit's Negative Approach, along with Ohio's Necros, were the undisputed champs of Midwestern hardcore in the early to mid-'80s. Legend has it that vocalist John Brannon recruited drummer OP Moore and the guitar/bass team of Rob and Graham McCulloch at a skate park sometime in 1981. Lead by the bald-headed Brannon's hoarse wail, the band concocted an extreme sound devoid of frills that alternated between violent and mean. This was first fully documented in 1982 on their self-titled Touch and Go 7". The band released the more metallic-sounding Tied Down 12" on Touch and Go in 1983, but died out in 1985 as Brannon incubated the Birthday Party blues of Laughing Hyenas.
Unfortunately lacking the more widespread post-hardcore fame of peers Ian McKaye and Henry Rollins, Brannon's Negative Approach has not gotten the later-day due often accorded Minor Threat and Black Flag. Negative Approach was certainly as influential as those two bands, touching everyone from Poison Idea to Sonic Youth to Los Crudos, as well as entire generations of hardcore fans in Boston and New York. The band was also as original and extreme as any early-'80s punk outfit -- the rhythmic crush created by Moore and the McCulloch brothers continues to be an undeniable steel-toe to the face. An essential show and listen for anyone who wants to understand hardcore.

Like a festering sore or a criminal rap sheet, the Lower Class Brats won't go away.

Formed in Austin, Texas in 1995, the Brats hit the scene like a gob of Lone Star loogie and have been spitting like cobras ever since. Brazenly unapologetic and frightfully in-your-face, the band's knuckle-busting brand of safety-pinned street punk has launched a legacy of hostility.

After scraping and stealing (or worse) to release a handful of broke-budget, seven-inch singles, the Brats finally issued their rabidly devoured 1997 debut album, "Rather Be Hated Than Ignored." A promise as much as a threat, "Hated" became a rallying cry for Austin's underground punk scene and served as marching orders for the germinating LCB Army. It also became an Oi! classic.

Sixteen years and multiple albums later (to say nothing of the untold beers, drugs, fights and vomit) the Brats and their tattooed Army remain a growing worldwide disease. Tours across Mexico, Europe, North America, Canada, Japan and elsewhere left a wake of wreckage and won countless new LCB recruits who proudly wear the band's clockwork skull mascot on tattered jackets and deep in their skin.

Today, to the great dismay of polite society, the Brats refuse to slow down or sober up. With new music always ticking like a bomb, the next explosion of chaos, riot and ruin is right around the next piss-stained corner. Consider yourself warned … and invited!

KILL THE CLIENT embodies the essence of nihilistic grindcore on their Relapse debut 'Set for Extinction'. Nineteen tracks explode like IED's and spread with the subtlety of sonic napalm, driven froth by punishing low-end distortion and the machine-gun drumming of Bryan Fajardo. KILL THE CLIENT have reached a new apex with 'Set for Extinction', and in the process created a post-millenial classic.